Tautly directed by Kiefer’s longtime “24’’ helmer Jon Cassar, Forsaken greatly benefits from the poignant teaming of its father-and-son stars — as well as Michael Wincott as an especially elegant and eloquent gunfighter who has great respect for John.

A sudden lurch into trippy abstraction at the end simply doesn’t work, but for the vast majority of the time this is a strong and original film.

Risen veers so far off the Bible’s path that it might as well be a tale of this 13th apostle, called Marty, who was in charge of snacks and mini-golf reservations.

Stiller’s one good idea is turning things over to Will Ferrell, who does some amusingly demented things while haranguing Anna Wintour and Tommy Hilfiger and is probably funnier in his sleep than Stiller is at his best.

This one is a “different kind of superhero movie,” meaning even more fiercely attached to the mode of artistic expression known as “puberty.”

It will probably not surprise you to learn that this film, generically directed by Christian Ditter (“Love, Rosie”), was written by the people behind 2009’s “He’s Just Not That Into You.” Seven years later, guess what? He’s still not that into you! And I wouldn’t be, either, not with this lot.

This well-intentioned drama — writer/director Paul Dalio has spoken publicly about his own struggles — veers into a common pitfall of films that portray mental illness: Romanticizing it.

Despite a too-tidy wrap-up, it’s a humane film, one that sees the war as a tragedy for the Afghans, not just Western soldiers.

I was too bored to hate the movie. Besides, who hates a stuffed animal? If it actually said something intelligent or surprising, you’d be alarmed, not pleased.

What really makes Hail, Caesar! sing are the Coens’ painstaking period simulations of scenes from five films,including not only “Hail, Caesar!” but a synchronized swimming routine a la Busby Berkeley and a corny musical Western.

It is a truth universally acknowledged that Pride and Prejudice and Zombies is a pretty silly idea. So why on Earth is this movie, based on the satirical book by Seth Grahame-Smith, not having more fun?

Some handsome location shooting in New Orleans doesn’t make up for the Oscar winners’ relentless hamming and a plot that twists way beyond credibility.

The Club offers plenty of stifling, agonized atmosphere, but it’s all penitence and no redemption.

Sudeikis, often cast as genial everyman, is quite good in a more prickly role, and Hall brings her characteristic nuance to a smart but lost character.

The film has all the incessant showiness that can make Greenaway irksome: split screens, CGI, deliberately alienating performances. But the man loves a beautiful shot and a witty line; those are the things that carry the film.

Director Grímur Hákonarson excels at building tension through long takes, and the actors are excellent.

The overall film is a mix of “The Thin Blue Line” and Costa-Gavras’ “Z.” At times overemphatic (no one will ever accuse Gitai of holding too much back), this docu-thriller is also agonizingly suspenseful, despite the foreordained conclusion.

The true story behind a Coast Guard rescue depicted in Disney’s The Finest Hours is amazing enough that it didn’t require corny romantic embellishments that threaten to capsize everything.

The stunning visuals in DreamWorks Animation’s Kung Fu Panda 3 surpass the high standards set by its predecessors, but storywise, the latest adventures of goofy Po the panda break no new ground.

A self-serving remark on the part of the filmmakers, who place only the tiniest fig leaf of a story on a panoramic canvas of the gory, gross and repellent.

The undercaffeinated middle of the film consists of dopey twists, slow-burning gazes and dialogue that aims for “heartfelt” but comes out “unfortunate.”

Fanning has little to do beyond grasping her prosthetic stomach, but James is a decent foil for Gere, who gives form to the highly topical subject of how pain meds destroy lives.

The ironically titled A Perfect Day isn’t entirely successful, but Del Toro is wonderful and there are many well-judged moments, some involving a 9-year-old (Eldar Residovic) whose return to his home underlines the tragedies of this particular conflict.

Mojave is a movie-length standoff between two detestable villains. One is a serial killer. The other is a filmmaker.

If you’re willing to overlook some monstrously big plot holes and logic gaps, this half-animated Chinese blockbuster is an agreeably bonkers, occasionally disturbing cinematic ride.

The crime and aftermath (based on a real story) are the best parts by far, but these come well after many overextended scenes of selfish, squalid people treating one another like dirt.

Naz & Maalik does what all great New York movies do: ground unique, engaging stories in the middle of the glorious chaos that is our city.

The Nees lean toward the rat-a-tat comedy of “The Adventures of Tom Sawyer,” presumably knowing they can’t match the profundity of “Huckleberry Finn.” (Who could?)